Only a few copies of the second volume of the of the heroic poem by Gian Giorgio Trissino, L’Italia liberata dai Goti (first edition, 1548) included a topographical view of Rome; this view has so far been almost completely neglected by scholars. It illustrates the city and his closer surroundings using the same topographical viewpoint of the Roman Campagna map by Eufrosino della Volpaia (1547) with additions inspired by the view drawn by Giovanni Battista Palatino for the Bartolomeo Marliano’s book Urbis Romae Topographiae, 1544. Two more illustrations in the same edition of Trissino’s book were convincingly attributed to Palladio: the aedicule framing the title page and the plate showing Belisario’s encampment. A comparison including the Trissino’s view of Rome, the engravings of the Polybius’ book, Venice 1564, and of the Julius Caesar’s Commentari, 1575 – in which Andrea himself drew the images – shows that the third plate also can be perhaps attributed to the same author. Moreover an analysis of several Palladio’s architectural drawings after the roman antiquities, which he probably copied from the originals by Michele Sanmicheli, shows that the same working method was used in both cases. In fact, both the view of Rome in the Trissino’s book that these Palladio’s drawings, like others of its, reveal the same approach, according to which a new result rises from the melting of different sources.
Qualche considerazione su Palladio e Roma: una veduta topografica e i disegni dall'antico
GHISETTI GIAVARINA, Adriano
2013-01-01
Abstract
Only a few copies of the second volume of the of the heroic poem by Gian Giorgio Trissino, L’Italia liberata dai Goti (first edition, 1548) included a topographical view of Rome; this view has so far been almost completely neglected by scholars. It illustrates the city and his closer surroundings using the same topographical viewpoint of the Roman Campagna map by Eufrosino della Volpaia (1547) with additions inspired by the view drawn by Giovanni Battista Palatino for the Bartolomeo Marliano’s book Urbis Romae Topographiae, 1544. Two more illustrations in the same edition of Trissino’s book were convincingly attributed to Palladio: the aedicule framing the title page and the plate showing Belisario’s encampment. A comparison including the Trissino’s view of Rome, the engravings of the Polybius’ book, Venice 1564, and of the Julius Caesar’s Commentari, 1575 – in which Andrea himself drew the images – shows that the third plate also can be perhaps attributed to the same author. Moreover an analysis of several Palladio’s architectural drawings after the roman antiquities, which he probably copied from the originals by Michele Sanmicheli, shows that the same working method was used in both cases. In fact, both the view of Rome in the Trissino’s book that these Palladio’s drawings, like others of its, reveal the same approach, according to which a new result rises from the melting of different sources.I documenti in IRIS sono protetti da copyright e tutti i diritti sono riservati, salvo diversa indicazione.
